Ever since Dua Lipa confirmed her engagement to Callum Turner last year, there has been one question repeatedly playing on our minds: What will the pop star wear to her nuptials? Lipa is known for turning out looks, whether it’s on stage, for the red carpet, or even just for an Instagram post. So we knew her wedding ensembles would be well-thought-out and noteworthy. Now we finally have (at least partial) clarity, and while it wasn’t exactly what we expected, her choice does place her among an impressive list of brides. It may also have an effect on future brides for years to come.

Lipa said “I do” over the weekend in an ivory set featuring a tailored blazer with gold bijoux buttons and a matching asymmetric skirt custom designed by Schiaparelli’s creative director Daniel Roseberry. What many thought was the hip padding providing structure to the jacket peeking out of Lipa’s hem was actually a sculpted blush bustier trimmed in white lace layered underneath. A Bulgari serpent necklace, white gloves, Louboutin heels, and a custom Stephen Jones hat lined in gold completed the bridal ensemble.It was a gorgeous, sophisticated choice from Lipa, complemented nicely by her now-husband’s blue Ferragamo suit.

Those who know their bridal fashion history took one look at Lipa’s tailored ensemble and immediately saw connections to Bianca Jagger’s own wedding outfit. In 1971, the activist and actress wed Mick Jagger in Saint-Tropez wearing a similar suit. Bianca’s ensemble was courtesy of Yves Saint Laurent and featured the designer’s famous Le Smoking jacket as well as a matching skirt. Like Lipa, Bianca topped things off with a wide-brimmed hat.

In the 55 years since the Jagger wedding, Bianca’s suit has been canonized and copied many times. At the Met Gala last year, Zendaya, Anna Sawai, and Kerry Washington all referenced the ensemble (and Bianca’s general affinity for white suiting). Since then, many a bride has embodied the effortless ease of a wedding suit or similarly rebellious pants. Amal Clooney wore a tailored two-piece Stella McCartney set to her civil ceremony with George in 2014, and Solange Knowles donned a caped Stéphane Rolland jumpsuit to her wedding in 2021. Just last year, Kim Cattrall married audio engineer Russell Thomas just a few miles down the road from Lipa at the Chelsea Old Town Hall in a Dior suit styled by Sex and the City costume designer Patricia Field.

Lipa’s own nuptial on Sunday, May 31, at Old Marylebone Town Hall in London were likely just the civil ceremony. The pair is reportedly still hosting a more extravagant affair in Sicily in the near future. The moment looked straight out of a rom-com, aided by both parties’ high fashion ensembles.

Unlike many stars of her caliber, Lipa isn’t beholden to one fashion house. While we can expect Zendaya to wear Louis Vuitton to her own upcoming nuptials, Lipa’s choice of designer was anyone’s guess. The singer has great relationships with multiple brands. She has been known to be partial to Jacquemus (and attended Simon’s own wedding a few years back), and has recently been spotted out in Kim Shui, Chloé, Gucci, and Balmain. She attended the Chanel spring 2026 haute couture show last year, and was perhaps scouting looks for the wedding’s Sicilian portion from the front row. But for the event on Sunday, it was Roseberry and Schiaparelli who won out.

That also means her choice of bridal suiting was likely very intentional. It could very well have quite the impact on the upcoming crop of brides. The singer is an undoubted fashion influence, so don’t be surprised if you see more and more women ditching ballgowns for suits and veils for floppy hats. Of course, we probably have many more bridal looks incoming from Lipa (possibly some more traditional ones as well), especially if this Italian wedding is to be as elaborate as the tabloids predict. If this first outfit is any indication, we are in for quite a sartorial treat.

I should start by saying that I am a hater. I am one of those people who spent the entirety of watching Emerald Fennell’s Wuthering Heights pointing out every deviation from the book (though that film has issues beyond its extreme creative liberties—see: a hater). They say acceptance is the first step, but that doesn’t mean it’s something I want to change. I like being a hater. I like, for instance, watching The Devil Wears Prada 2 with a healthy dose of skepticism.

For the record: I liked DWP2. It’s cute, the cast is great, and I would happily watch a million hours of Meryl Streep and Stanley Tucci as a dynamic duo running a fashion magazine. It’s an enjoyable two hours that continues a beloved story while situating it within the current realities of the media industry. Still, I suspect much of the praise is driven by nostalgia—a force very good at clouding judgment. If it were a one-off film, with all new characters and a different fictional magazine, it would likely be dismissed as boring and unevenly written—because, in my opinion, it is. That may sound odd for a movie packed with high-profile cameos, sparkly costumes, and fun montages. But look past all the glitter that’s distracting from the storyline, and you realize that, for the most part, very little actually happens.

At the height of the film, in Andy’s bid to save Runway from utter demise, she sits in a hotel room all day—albeit in a great vintage Björk shirt—and does not much more than make phone calls. Sure, there was a sense of urgency to it all but nevertheless I found my mind wandering. Here, just some of the thoughts that popped up.

Why are we spending so much time on this Aussie?

One of the major side plots of the film revolves around Andy Sachs and her new love interest, Colin a real estate contractor portrayed by Australian actor Patrick Brammall. He’s nice enough, and they seem like a good match, but when have we ever cared about Andy’s love life? Perhaps there was some conversation in the writers' room about finding a good man for Andy after Adrian Grenier’s character was sufficiently rebuked over the past two decades as the true villain of The Devil Wears Prada. Or maybe they wanted to recreate the chemistry between Andy and her one-night fling, Christian (Simon Baker), from the first film. But this relationship does nothing to further the story nor push any character growth forward. I think I can safely say no one is going to the theater to see Andy fall in love. This is a career film, and too many minutes were wasted on the new guy.

Leave the finance bros at home, please.

I had heard from colleagues that the film is very insidery; I assumed they meant it dove into the intricacies of the media industry. It does, but what I didn’t expect was that the consultants, venture capitalists, and private equity associates would be invited into the circle as well. There are multiple scenes of meetings around how to make Runway more profitable, and while they are done with a touch of satirization, it is not enough to make them interesting in any way. Every time BJ Novak’s character came on screen, I let out a groan because I knew the entertainment would cease for the next few minutes. I get it. They had to set up the stakes. The magazine is being sold off and gutted, but do we really need to talk about it over and over again? I can only watch Andy sputter on-screen so many times.

The film’s marketing and its thesis are in direct contradiction with each other.

To be fair, I did find parts of this storyline to be accurate. As someone who has been in the media industry for close to a decade, I’ve somehow dodged lay-offs while seeing them destroy good writers and even better publications on a frighteningly consistent basis. Never did I think this would be interesting fodder for a movie, but I do appreciate that DWP2 didn’t shy away from the realities of the industry as it stands. A sequel where Runway is thriving probably would have left me even more perturbed upon leaving the theater. Still, there was something hypocritical about the movie's entire thesis. Andy wants to save Runway, whether that's because she thinks it’s the last job in the industry where she can make a living wage or because she believes this cultural institution and arbiter of taste deserves to live on. But the distinction is largely irrelevant, muddled by the film’s own plot. She continually describes things as “everything that is wrong with the world,” including, at one point, a glamorous 75th birthday for the Elias Clarke CEO filled with her Runway colleagues. Are we supposed to agree with Andy? Or, do we take the side of Miranda and Nigel, who are adamant in their belief that Runway, its legacy, and its survival are paramount to the overall endurance of beauty and artistry? Perhaps a little bit of column A and column B—but anyone who believes in column B likely watched the movie’s press tour with the skeptical, side-eye emoji hanging over their head. Didn’t this film do exactly what it claims to be against: sell itself out, strip itself down to the simplest form, and hawk, not only tickets, but every branded product imaginable?

Did I just watch an ad or a movie?

When The Devil Wears Prada was in production more than twenty years ago, the fashion industry wouldn’t touch it. Here was a film blasting the most powerful woman in fashion, and brands wisely didn’t want anything to do with it. Costume designer Patricia Field had to work magic to clothe the cast when labels refused to lend clothes in fear of Anna Wintour’s wrath. This time around, Wintour was on board to such an extreme degree that she was reportedly on set, giving notes herself. Luxury labels, similarly, did a 180, securing key placelements in the film. Dior and Dolce & Gabbana are critical to the plot, while other brands are name-dropped with aplomb, and one can’t help but think there was a paycheck behind each mention. And while Jeff Bezos gets skewered in the film, portrayed by a goofy and gauche Justin Theroux, it clearly did nothing to compromise he and his wife Lauren Sánchez Bezos serving as honorary co-chairs of the 2026 Met Gala—Wintour’s annual crowning achievement.

In the first movie, Andy is a girl who wants to get into “real journalism,” who sees Runway simply as peddlers of luxury goods to people who don’t need them. There is a moment where we see that she still believes this 20 years later, specifically when talking to Emily about the $3,000 handbags Dior sells. The film makes the point that fashion magazines are more than that, but what about movies about fashion magazines? For the past few weeks, everywhere one has turned, there has been the red stiletto. Diet Coke cans, Grey Goose vodka, L’Oreal makeup, Target lines all plastered with the DWP2 logo. Would Andy approve? Would Miranda? I think not.

There’s a scene near the beginning of the movie, just after Andy gets rehired at Runway, when they go to visit Emily at Dior to discuss the brand’s advertising with the magazine. Andy learns the new lay of the land: Dior pays for the ads, ads pay for the magazine, so Emily is in a position of power. Andy is aghast, so maybe she can relate to how I felt every time a Starbucks cup was flashed before the camera or a brand was name-dropped in the film. While Andy pleads for the maintenance of integrity in the sequel, it feels like it left the building before the title card was even projected on screen.

Did we really need a sequel?

When I left the screening, I asked myself, “What was the point?” The story was told—and told well—with the first film. Why did we need a second? Then, I looked around: I was at a L’Oreal Paris-sponsored first look at the movie, one night before its wide release (yes, I can see how you might think I'm part of the problem). Standing there, in a sea of branded content, I was reminded that the point was, of course, to make money. And with a projected $180 million in global box office for its opening weekend, it will certainly succeed in keeping a struggling Hollywood afloat for at least another day.

In 1986, a group of unknown designers drove from Belgium to Great Britain to show their work during London Fashion Week. They weren’t given a stage, and few locals could pronounce their names. Along with Martin Margiela (the unofficial seventh), Ann Demeulemeester, Dirk Bikkembergs, Dirk Van Saene, Dries Van Noten, Marina Yee, and Walter Van Beirendonck were labeled the Antwerp Six. They were the first Flemish designers to break through globally; while their aesthetics are distinct, their ethos brought them together. The group was markedly antiglamour, underwritten by a sharp independence and an openness to breaking norms.

This sensibility changed the industry at its core. Today, Belgian designers and designers educated in Belgium still dominate the fashion system. Just look at Matthieu Blazy at Chanel, Pieter Mulier at Versace, Raf Simons at Prada, Julien Dossena (who graduated from La Cambre Mode[s] in Brussels) at Rabanne, Meryll Rogge at Marni, Glenn Martens at Margiela and Diesel, and Anthony Vaccarello at Saint Laurent; then there’s Demna, who famously studied in Belgium and learned under Margiela. Meanwhile, many of the original Six+1 have left fashion altogether, moving onto sculpture, furniture design, and other art forms.

This past week and weekend, the city celebrated the first Antwerp Fashion Festival, inviting the world to get to know the new, rich talent coming out of the unlikely fashion capital. Both new and established Belgian designers were in attendance; Walter Van Beirendonck showed his emotional 40th anniversary collection, 40 Years of Dreaming the World Awake, on the 7th floor of a construction site in an abandoned bank. (The structure was the first skyscraper in Europe—showing in its ruin felt particularly on-brand for the radical pop-conceptual designer.) Dries Van Noten creative director Julian Klausner opened up about how he feels taking the helm from Noten, and how excited he was to meet a designer he loves at the event (Rick Owens). This year’s LVMH Prize finalist, Julie Kegels, put on a group art and design show at the gallery Cour, while the Royal Academy of Fine Arts, Antwerp showcased graduating student collections and invited guests to meet the young designers one-on-one. Designer Tom Van der Borght showed sculptures of real bodies at the Botanic Sanctuary Antwerp and concept shop DONUM, works that broke against the idea that only one form is desirable in the industry.

The Antwerp Fashion Festival events make a strong case for the fact that the city is still a hotbed for avant-garde and independent design. W spoke with 10 of the participating creatives to ask: what makes Antwerp fashion so compelling? And what does the future of fashion look like?

Julian Klausner

Creative director of Dries Van Noten

What do you think about the current state of the industry and its future?

I’m grateful to be part of this big wave of new creative directors. In the season before my start and after, 20 or 30 new creative directors [began]. The future seasons are looking really exciting. It’s humbling, as well, because I had my debut show on the same day Haider Ackermann debuted at Tom Ford. I think the morning after was Sarah Burton at Givenchy.

Does Antwerp have a distinct voice in fashion?

This is a very fertile place to be creative. We are quite a particular country: We’re very small and we have three official languages and a messy government and [we’re surrounded] by these great, big histories. As a Belgian, you don’t take yourself too seriously. You are pushed to look at things in a slightly different way.

The state has very little fashion history. So for the first wave of designers, the Antwerp Six, there was everything to be done. There was no weight of heritage or something to be compared to. And that gives a certain creative freedom.

How do you decide between taking creative risks and the demands of the business of fashion? Where do you draw the line?

I’m very instinctive in the way I work. This is what I saw from Dries—I was also aware when I took on the role that I had to find my way. It’s still a work in progress to make the work personal to me. Every season, Dries wanted to push things forward. He was keen on looking to the future. The combination pushes me, still, to be daring. Between being a little bit too daring or being a little bit too bland or commercial, I’d rather lean toward creativity. It is the spirit of the house.

Brandon Wen

Designer and creative director of the fashion department of the Royal Academy of Fine Arts, Antwerp

Describe your brand in three words.

Abstract tropical elegance.

You said the latest collection is about abstraction specifically.

The collection started from the idea of nothing. How does nothing become something? The other note of inspiration is I am originally from Los Angeles. My mother is Spanish, my father is Chinese. So there’s a surfer boy-slash-old Spanish woman inside of me that comes out in the raffia, in the taffeta, in the embroideries.

Who do you picture in the clothes?

I only have a basic answer: Björk, obviously. But I like this collection on boys. I make this clothing for myself. People are like, who’s your client? It’s kind of a Harold and Maude situation.

What are your thoughts on the future of fashion?

We have a lot of students who want to continue creating. But as a fashion designer, it’s hard. You can’t just do that. A painter can make 12 paintings and it’s fine. In fashion, you have to have a collection. For me, the future is in small resources, and finding the people and the communities that will help make that happen. Because right now, I don’t know if a space like that really exists.

How would you define Antwerp fashion?

Antwerp is garment-obsessed. London is more [defined by] abstraction, experimentation. Antwerp is still experimental, but it’s really about garment details. It’s how we teach, it’s what the Six were all about. And historically, it’s always been eclectic.

Walter Van Beirendonck

Member of the Antwerp Six showing his 40th anniversary collection

Tell us about your new collection.

For me, it was a new step, a little more spiritual. The clothes are probably more relaxed, less complicated. I’ve become a little more relaxed, a little less complicated. Also, the world is changing. I’m changing.

How would you describe these 40 years?

As a rollercoaster. I never skipped a season. One way or another, I always put a collection together. I had periods that I really had to survive. Other periods were extremely successful, like the ’90s, with a lot of selling points all over the world. But then again—down and then up, and up and down.

What’s your best memory of these years?

The beginning years were fantastic. You can see it in the exhibition of the Antwerp Six: it was a very naive start because we didn’t know what to do, we didn’t know how to move forward. But at the same time, we were so desperate and ambitious to make it. And it was such an incredible energy, which we all experienced together. That was a nice start to our careers.

What do you see as the future of fashion?

It’s all about creativity—that’s hopefully what can survive and what is so necessary in this fashion world, which has been ruined in the last few years by the big houses, by a lot of money, by mainly concentrating on marketing, by changing designers all the time. We are losing so much of the soul of fashion.

How did you keep going over the years, and what keeps you going today?

In my life, there has always been hope. I’m still fascinated by fashion. It’s still a strong tool to express myself. This last collection is called “I know.” I know that it’s a terrible time. I know that the world is going [through darkness], I know all these things—but still I want to go on and make fashion.

Bernadette de Geyter and Charlotte de Geyter

The mother-daughter designers of women’s ready-to-wear line Bernadette

How would you describe your aesthetic?

Charlotte: We value authenticity, timelessness, optimism, and color.

Do you think Antwerp has a specific sensibility?

Charlotte: Antwerp designers are very down-to-earth. There’s a stubbornness of doing exactly what we want and not being too influenced by what is already happening.

What are your thoughts on the future of the industry?

Charlotte: It changes quickly. With social media, it has already changed so much. So for us, what’s important is that we have slow growth.

Do you have a favorite garment or signature piece?

Bernadette: I always love to wear our robes. It’s a comfort-first garment. You can wear it with a slipper, you can wear it with a heel.

Pommie Dierick

2024 Royal Academy of Fine Arts graduate preparing to launch her own label

Tell us about your work.

I like to work around strong women. My masters collection was about Grace Jones and Bette Davis. I like that energy in a woman, and also in clothing.

Do you work for a designer? Do you have your own line?

I just came back from Paris, actually. I was doing internships, first for Louis Vuitton doing bags, and then I went to Loewe and I did leather there. Now, I work for my own brand.

Is there something that characterizes Antwerp fashion?

There is a certain something you cannot really put in words—we’ve been trying to define it. Antwerp designers are creative, and they put a lot of imagination in their work. You can feel it.

What do you see as the future of fashion?

I’m actually optimistic, because for young designers, it’s more about creativity. The art is coming back, the craft is coming back.

Florentina Leitner

Antwerp-based designer showing her namesake label at Paris Fashion Week

Describe your brand in three words.

Feminine, floral, fantasy.

What are your thoughts on the future of the industry?

I hope the industry will survive what’s going down with wholesale. It’s crazy. It’s important for younger designers to build more B2C and discover their crowd and their direct clients. We’re in very risky times. But I hope it’s settling, and I hope retail is becoming a big thing again. I was in South Korea and Japan last December, and especially in South Korea, I saw amazing stores that were so immersive; it was really an experience.

Carla Lázaro Bonet

2026 Royal Academy of Fine Arts, Antwerp MA graduate, winner of the Jury Prize

Tell us about the concept of your collection.

It was based on my grandmother. I saw her not giving a fuck about social norms. She was doing whatever she wanted, and that was inspiring to me. It’s a balance between contemporary and traditional.

Describe your work in three words.

Craftsmanship, bold, and colorful.

What are your thoughts on the future of the industry?

For me, it’s slowly coming back to craftsmanship. I know this [work] is so time-consuming and exhausting, but at the same time, there is beauty in it. And it’s not about perfection. We need to slow down and work with our hands.

Tom Van der Borght

Designer and artist, winner of the Grand Jury and Public Prize at Hyères 2020

Do you think Antwerp has a specific sensibility?

Antwerp culture is very connected to Belgian culture at large. We are a quite young country; we’re like a collage of people from very different directions. We are dealing less with a strong national identity. And that in itself gives more space for freedom, different approaches, different point of views.

What are your thoughts on the future of the industry?

I always try to approach things in a positive way, but also in a radical way. So I hope for a radical future where we switch our ideas, our ways of producing, our ways of thinking about the body, and also how we deal with each other.

Anna Lackner

2026 Royal Academy of Fine Arts, Antwerp, MA graduate

Tell us about the concept for the collection.

This is so funny, because my collection was inspired by a W magazine shoot—it’s a Juergen Teller shoot from the ’90s with Kate Moss and Claudia Schiffer at the Cannes Film Festival. I love those images so much. I love that there’s still some beauty in this messiness. From this photo shoot, I developed an idea: this diva has a mental breakdown.

When you picture the collection, who do you see wearing it?

Lady Gaga. I think it fits.

What are your hopes or wishes for the future of the industry?

I would love it if people were not too stressed and could be daring and a bit crazy. A lot of people from my class are thinking the same way. There’s a movement—everybody just wants to be free and do what they want without pressure.

Julie Kegels

2026 LVMH Prize finalist who launched her womenswear line in 2024

Describe your brand in a few words.

Stable, fresh, and realistic.

Do you think there is one thing that characterizes Antwerp fashion?

There is something very raw about Antwerp and Belgium in general, and that breeds something ordinary out of daily life. But still, there is a lot of grace. There is also room to dream and have fantasies.

What do you think about the future of fashion?

This is a big industry, and there is a lot of corporate flattening. But on the other hand, there’s something very positive happening because of AI, and things that are too perfect. It actually gives us an opportunity to go more toward craft. You need humans, and the imperfections and the mistakes that humans make. I’m positive, of course, because I just started, I have to be positive. Maybe I’m still a bit naive, and maybe it’s also good to dream.

Every month, an array of new beauty launches arrives, each one promising transformation, radiance, and the occasional miracle. Here at W, we are meticulous in our evaluation, testing, observing, and weighing what is truly worth your time and money. We listen closely, and we’re not afraid to be ruthless—trends don’t impress us, results do. Price is no measure of merit; the standouts may be outrageously luxurious or quietly brilliant, but each one earns its place. What remains is intentional, considered, and worth your attention. This is your guide to the few products that truly deliver.

In 2026, W will publish a monthly roundup of the best beauty products that launched recently—genuine game-changers you should consider purchasing. Whether you’re a skincare connoisseur, an avid makeup collector (slash borderline hoarder) or you’re simply browsing for something fresh to add to your beauty regimen, here are our new favorites, which we recommend incorporating into your repertoire.

Biologique Recherche Serum Spectral

This new serum is built around a theory: that skin aging is heavily influenced by different types of light exposure, and protection can be supported through targeted botanical actives. So the French skincare brand Biologique Recherche sourced actives from plants that survive in the harshest environments, like lingonberry for antioxidant polyphenols, schisandra for supporting cellular renewal through autophagy, and indirubin from the indigo plant, a compound that helps reinforce your skin’s natural defense systems.

Celluma Mystique LED Mask

Say goodbye to flimsy LED masks, because Celluma Mystique is the real deal. Years in the making, this marvel is unique and beyond compare as it hugs your face and scalp, delivering dual-action treatments for skin and hair in a single 30-minute session. Here’s why it’s unique: other than the superior joule output, and unlike other red light masks on the market whose interior silicone covers scatter red light, this is an engineered silicone film that ensures every photon hits its target, revitalizing your complexion with clinical-grade accuracy. Cord-free (for at least six to eight 30-minutes uses), strap-free, and effortlessly wearable—watch your favorite show while your skin is perfected. This is LED therapy at its best, and we all deserve one.

La Prairie White Caviar Eye Serum

Tired of being in the “dark circles under my eyes” club? We got you. La Prairie’s cutting-edge, thiamidol-infused White Caviar Light Infusion Eye Serum brightens the eye area with the brand’s proprietary cellular complex and micronutrients. The ingredients help inhibit melanocyte production on a cellular level, so you can finally look as wide-eyed and fresh as you feel.

Chanel Coco Mademoiselle Pearly Body Oil

Get ready for this beautiful, luminous sheen to envelop your décolletage, arms, and anywhere else you want a soft, balanced glow for spring. Chanel’s latest drop is a decadent finishing touch for your nights out, layered with silky notes of orange and jasmine.

Clark's Botanicals DNA-42 Clinicalift Serum

Developed by the clean, cruelty-free, physician-led brand founded by Francesco Clark, this advanced serum for face and eye area reflects into the skin’s own timetable: over its 42-day turnover cycle, vegan dual PDRN and plant-derived exosome technology coax your complexion to appear firmer, more luminous, and newly reconditioned.

Gucci Oil-In-Water Tint Hydrating Lip Stain

This lip tint shade is pure joy in technicolor: it’s sexy, mischievously cheerful, and luminous. It glides like water, shines like oil, and nourishes with black rose, cranberry biopeptides, and hyaluronic acid. Your lips will be plumped, happy, and smiling.

Seed to Skin The Rescue Cleanse

For post-procedure recovery and sensitive, rosacea-prone skin, this organic skincare product is second to none. The brand is celebrated in the most prestigious European spas—and Seed to Skin’s latest quells redness and soothes irritation with every use. There’s a high-grade infusion here, with one of our favorite actives: black seed oil, plus licorice root, and the finest blend of healing hypericum and calendula to leave your skin visibly calm and luminous.

Dr. Diamond's Metacine EyeLift Peptide

This eye treatment blends bioengineered, human-identical, and growth factor-derived peptides with a hyaluronic acid-retinoid complex to awaken your skin’s natural brilliance. By boosting key structural proteins and quieting the enzymes that dismantle collagen, it lifts, firms, and revitalizes the eye area. Results will make a first impression immediately—and only get better with time.

Lancôme Absolue Longevity MD Intercept The Cream

Few products make an impact like Lancôme’s in-house labs, which recently produced Lancôme’s Longevity MD serum and face cream. One of their most significant launches in the last two decades, the five-product line is a triumph of decades of research. These formulas are powered by Mitopure (Urolithin-A), a groundbreaking longevity supplement that optimizes mitochondrial health. The serum catalyzes skin renewal, unveiling a glow that feels effortless, while the face cream fortifies and strengthens your skin’s foundation for the long-term.

Pique Carrara Marine Collagen Peptides

It’s true, collagen is everywhere. But Pique’s new formulation distinguishes itself as more than just any supplement for a few reasons. Anchored in a Japanese collagen broth, this product unites marine Type I collagen—known for enhancing skin luminosity—with the rarer Type II collagen derived from Aki sake salmon cartilage, which supports elasticity, joint integrity, and structural resilience. Fortified with clinical-grade biotin and keratin, the benefits also extend to hair strength, skin vitality, and nail health. So now your morning coffee and collagen become a smart, streamlined ritual, and you will see results within weeks if you’re consistent.

Keren Bartov Next Gen Vitamin A Cream

Let’s glow already. Here’s a revelation in retinoid skincare: Keren Bartov’s Next Gen Vitamin A Face Cream smooths texture and brightens tone with Granactive retinoid, a gentle formula ideal for spring and summer (stronger retinoids just don’t play well in the sun). Vitamin E, PHA, and nourishing botanical oils fortify, while turning over a luminous complexion with each use.

Westman Atelier Sun Tone Bronzing Crème

This $75 bronzer will quickly become a repeat buy for this spring and summer. It leaves your skin with a perfect hydrated matte finish, which lends a natural, sun-kissed glow for every skin tone. Available in four versatile duos, it can be worn solo or layered for extra warmth.

Mara Aura Cleanse Foaming Gel Cleanser

We’re always on the lookout for solid cleansers, and this one hits the mark, especially for normal-to-combo skin. Enhanced with Icelandic arctic algae, healing glacial mineral waters, and berberine (a plant active we swear by), we adored this product. Additionally, enriched with rice and seaweed extracts, the composition manages to purify without stripping, so your skin barrier stays intact.

Knesko Skin The Exfoliator

We cannot say it enough: if retinol isn’t part of your regimen, you still need to be exfoliating your skin every few days to remove the residues that your daily cleanser cannot fully eliminate. We love this new dual-action physical and chemical exfoliator to use once or twice weekly—either before your full makeup application on a night out, during your at-home spa session or before bed, when you want to wake up to beautiful skin. This exfoliator lifts away dead skin cells with refined crystal granules that provide gentle physical exfoliation, also using a blend of lactic acid and AHAs to chemically refine the complexion. We suggest you follow with the Knesko goji plant stem cell–infused The Rich Cream, from the same newly launched Gold Repair Collection, for best results.

Shiseido Benefiance Dark Spot and Wrinkle Smoothing Serum

This powerful new serum is an easy one to add to cart. They say two weeks to visibly brighten and smooth out the signs of aging, but we saw results a bit sooner. This fabulous serum contains Shiseido’s hero ingredient, picâo preto extract (which is a natural retinol alternative), as well as ginseng root extract and caffeine to firm and lift.

Sarah Creal Coming In Hot Pressed-Mousse Blush

Hats off to this ingenious product developer, who has distilled endurance and refinement into six beguiling shades. This pressed pigment infuses skin with peptides, emollients, and vitamin E for a subtly plumped, velveteen flush that lingers with elegance.

Mr. Smith Luxury Oil

Because our hair deserves the kind of care we’d give our skin. This one’s especially great for thicker, textured, or brittle hair; this new hair oil is rich in ceramide NG and cardamom seed oil, nourishing your tresses while smoothing ends. Use it as a finishing touch to towel-dried hair and also treat your scalp with it a few nights a week.

Aesop Solais Replenishing Hand Serum

A $49 hand serum sounds indulgent—until you realize it’s basically preventative maintenance for time itself, especially when the product comes from one of our faves, like Aesop. The Solais Replenishing Hand Serum uses ingredients like dandelion root and LHA to quietly wage war on dark spots while your hands pretend they’re still in their twenties.

Victoria Beckham Beauty Colour Wash Blush & Bronze Water Tints

Like everything Beckham creates, this is thoughtfully designed—but also glams up your makeup look fabulously. The bronze shade looks beautifully natural and is easy to apply (for best results, we say use your fingertips). We loved the long-lasting finish on our cheekbones and appreciated the inclusion of restorative, mineral-rich seawater from the cliffs of Northern France in the formula (it makes us feel French).

Maison Sisley Exfoliating Hand Wash

Here’s a smart ritual for soft, strong hands. Sisley’s exfoliating hand wash polishes away roughness, leaving the skin supremely supple, satin-smooth, and luminously invigorated (an essential flourish as spring and summer unfold).

Saint Jane Bright Revival Peptide Eye Cream

Your eyes will be visibly awakened, radiant, and undeniably well-cared-for, without asking your wallet for a favor. This ingenious formula layers petite oligopeptides with larger biosynthetic peptides to firm and smooth, while a whisper of glycolic acid gently refines the surface. Complemented by six forms of hyaluronic acid, stable vitamin C, caffeine, and brightening botanicals (mulberry, licorice, peony) expect a brighter and more revitalized look.

Grassroots Recycling, a pioneer in plastic waste management, has taken a significant leap forward in its commitment to sustainable practices, with the investment into an LRK 1400 shredder from industry specialist UNTHA UK. This strategic step underscores Grassroots Recycling's dedication to enhancing operations and furthering its mission to assist Britain's farmers and growers in responsibly recycling plastic waste.

Warning: spoilers for season three of The White Lotus ahead.

Season three of The White Lotus packed a lot of questionable things into its eight-episode run: an incestuous threesome, intrusive murder-suicide fantasies, and endless brand collabs, to name a few. After ending on a shocking note, with toxic but lovable couple Chelsea (Aimee Lou Wood) and Rick (Walton Goggins) meeting a tragic end, the series’ Thailand-set third season set a high bar for chaos and mystic symbolism. Creator Mike White is surely up to the task, though—and naturally, the Emmy-winning HBO hit has already been renewed for a season four. Here’s everything we know about it so far:

Who is in the cast of The White Lotus season 4?

A few guests have already been confirmed for season four: Laura Dern, Sandra Bernhard, Kumail Nanjiani, Heather Graham, Rosie Perez, Ari Graynor, Ben Kingsley, Max Minghella, Pekka Strang, and British actor and comedian Steve Coogan (of Alan Partridge fame). This is in addition to models/newcomers Caleb Jonte Edwards, Dylan Ennis, and Marissa Long, Canadian actor and country musician Alexander Ludwig (he played Cato in The Hunger Games), Chris Messina (Argo and The Mindy Project), and Amanda “AJ” Michalka (of cult favorite aughts pop duo Aly & AJ). Max Greenfield (The Neighborhood), Chloe Bennet (Interior Chinatown), Charlie Hall (The Sex Lives of College Girls), and Jarrad Paul (Free Bert) have also joined the cast. On March 30, additional actors were added to the sprawling ensemble, including Ben Schnetzer, Tobias Santelmann, and Frida Gustavsson.

Vincent Cassel (Black Swan) will play the season’s main hotel manager, with fellow French actors Nadia Tereszkiewicz and Laura Smet also joining the cast.

What happened to Helena Bonham Carter?

Some other casting gossip: a little over a week into production, it was reported that Helena Bonham Carter would be exiting the season, with her role—as a washed-up actress trying to make a comeback—recast. An HBO spokesperson gave the following statement to Deadline: “With filming just underway on Season 4 of The White Lotus, it had become apparent that the character which Mike White created for Helena Bonham Carter did not align once on set. The role has subsequently been rethought, is being rewritten and will be recast in the coming weeks. HBO, the producers and Mike White are saddened that they won’t get to work with her, but remain ardent fans and very much hope to work with the legendary actress on another project soon.”

Laura Dern will be replacing her. Which makes both perfect sense, but also leads to some questions.

Dern is one of White’s most frequent collaborators. The pair previously worked together on the cult classic HBO show Enlightened. She also played a supporting role in White’s 2007 film Year of the Dog. Technically, she’s also contributed to TWL before. She made a vocal cameo as Michael Imperioli’s character’s estranged wife in the second season.

According to Deadline, Dern will not be playing the character originally meant for Carter’s but rather one that “is being developed and written for her by White.” For now, the assumption would be that it is not the same character she voiced in the second season.

Where will The White Lotus season four be set?

Deadline broke the news in September that season four will be set in France. Specifically, the story will take place along the French Riviera, with some scenes shot at a Paris hotel, focusing on the Cannes Film Festival. While past installments have taken place at various Four Seasons properties, this season will break form. Most shooting will take place at a stunning 19th-century palace-turned-luxury hotel in Saint-Tropez on the Côte d’Azur, called the Château de La Messardière, and at Hôtel Martinez in Cannes. The Paris scenes will also be shot at the Hotel Lutetia.

The seven-month-long production will begin, for the most part, after Cannes wraps on May 23, with HBO recreating the festival at the Palais des Festivals and on the red carpet to make it look realistic.

A small crew will be on hand to capture some footage during the actual festival, though, so we might see cast members walking the red carpet of the Croisette.

What will the season’s themes be about?

Last season focused on issues of life, death, rebirth, and Eastern philosophy. According to executive producer David Bernad, season four will be about “the life of an artist.”

“Early on, Mike talked about wanting to do Season 4 as the life of an artist—the loneliness and the pain,” Bernad recently said at the annual Canneseries. He added, “That’s a throughline that runs throughout the season. As we located the show at the Cannes Film Festival, this idea of fame popped up, and who has the world’s attention? Who can grab it, and who is the plus one in a relationship? What are the things that satisfy us? Is it the love of an intimate partner, the love of strangers, what do we prioritize in people?”

He went on: “It really examines the things we value as people and what is attractive to us, and how fame can be corrosive and dictate your choices in life. Some of the characters are existentially reflecting on those choices, some are reflecting on the choices and sacrifices they made as artists, and some are just starting to enter into this world of fame.”

Sounds like it will be very meta.

Any actual plot details yet?

A few, so far. According to Variety, the season will feature two rival film teams with movies in competition at the Cannes Film Festival. One team stays at Hôtel Martinez on the Croisette (called White Lotus Cannes), and the other up the hill at the luxury palace Château de La Messardière (rebranded White Lotus du Cap). As you can imagine, it’ll be a satire on the particulars of the film industry, focusing on the American film stars navigating the French Riviera, and the hospitality staff tasked with taking care of them.

Are any former cast members returning?

Though each season of the anthology series features a new group of nepo babies, beloved character actors, and other casting wild cards, White has also always brought back at least one character to tie the seasons together. In season two, it was Tanya (Jennifer Coolidge) and Greg (Jon Gries), who gallivanted around Italy on a moped before Greg set Tanya up to be killed in a murder-by-gays plot. In season three, we were reintroduced to Belinda (Natasha Rothwell), who finally got hers after being ghosted by Tanya—though in a characteristically cynical White-twist, she turned around and did the same thing to someone else (Pornchai).

So who could be coming back next season? Wood confirmed to W that, despite some fan theories, there’s no chance of Chelsea or Rick returning. Maybe we’ll circle back to Belinda and Pornchai—will White want plot symmetry between seasons, with Pornchai somehow getting justice this time?

The other most apparent loose end is with the Ratliff family. After the slow, season-long build-up toward Timothy (Jason Isaacs) revealing to his family that he had lost all of their money, it was disappointing to be denied that climactic moment as a viewer. He was also apparently facing time in federal prison. Will there be Zoom calls with Isaacs from his cushy minimum security institution next season? Will we see Parker Posey’s Victoria working at a hotel, rather than visiting one as a guest? Will Patrick Schwarzenegger’s Saxon go on his own spiritual journey, inspired by the death of Chelsea? The possibilities are endless.

When will The White Lotus season 4 return?

There’s no release date yet—stay tuned for updates. Filming began in April and will last through October, with a possible premiere in May 2027, if past release schedules are any hint.

Even a record-breaking heat wave couldn’t stop Queen Letizia from making a stylish outing. The royal’s home country of Spain is experiencing extraordinarily high temperatures thanks to a heat wave that’s sweeping Europe. So, what’s a perpetually polished queen to do? Shop her closet for a tasteful, yet practical look that can hold its own against high temperatures.

While attending the inauguration of the Madrid Book Fair, Queen Letizia stepped out in a breezy summer dress from Spanish brand Adolfo Domínguez. Her lightweight, sleeveless style was covered in a blurry print of inky blue and pale lavender brush strokes. The practical piece featured a rounded neckline and calf-length hem, cinched by a thin blue belt that wrapped around like a ribbon. Letizia’s ensemble was simply complemented by small gold starburst earrings, as well as light purple espadrille wedges with wraparound khaki straps.

However, this wasn’t Letizia’s first outing in this particular ensemble. Previously, the royal wore the same flowing Domínguez dress during a visit to Seville in June 2020, which was also paired with a set of espadrille wedges in a blush-pink hue. Five years later, it appears that lightning can strike twice—especially from the shoe, a go-to style in Letizia’s closet. Over the years, she’s worn the summer-ready footwear in a range of heights, silhouettes, and colors like navy, cream, beige, brown, and pink, which all smoothly complement her elegant wardrobe.

While embracing her sophisticated style, Letizia’s book fair outfit proved that even royals can find outfit inspiration from looking through their closets. It’s a sustainable practice she’s become known for, often stepping out in the same handbags, shoes, and clothing over the years. However, she’s not the only star that frequently re-wears her wardrobe across multiple seasons. Kate Middleton’s become known for re-wearing her shoes and dresses across a range of public-facing events over the years, even on the red carpet. Non-royals like Katie Holmes and Amal Clooney also re-wear pieces from their own closets on and off the red carpet, as well. It seems that, especially when facing extreme weather, relying on go-to styles and long-lasting pieces is a dressing method everyone can get behind.

Hunter Schafer is having an art-filled week. In Sunday’s episode of Euphoria, her character, Jules, recreated Georges Seurat’s A Sunday Afternoon on the Island of La Grande Jatte, turning the neo-impressionism masterpiece into a ghoulish scene too explicit for poor Lexie (Maude Apatow) or network television.

But on Monday, on a Met Gala red carpet filled with sheer and barely-there dresses, Schafer was one of the few attendees who opted for a more demure look. She also took the evening’s theme seriously, dressing like a figure straight out of art history.

Schafer arrived to the 2026 Met Gala in a custom Prada look inspired by Gustav Klimt’s 1912/1913 painting Mäda Primavesi. The portrait depicts the nine-year-old girl in a confident stance amid a colorful background, wearing a white dress by Klimt’s friend, couture designer Emilie Flöge, decorated with flowers. Appropriately, the painting is part of the museum’s permanent collection.

Like Primavesi, Schafer wore an empire-waist gown with a line of rosettes just under the bust. While Primavesi’s dress ended just under the knee in layers of ruffles, however, Schafer’s reached the floor. Holes and tears along the waist and skirt made the dress look almost as if it were falling apart. Underneath the linen fabric emerged a floral silk chiffon fabric that continued into a long train behind the actor that draped the steps as she ascended. Schafer finished the look with a bow in her hair just like Primavesi, and a simple face of makeup—pink cheeks and blue eyeshadow—that matched the nine-year-old's own pre-war glam.

The result is Schafer as Primavesi all grown up. Or, like the actor discovered the old Emilie Flöge dress tucked away in an attic, filled with holes after years of gathering dust, and brought it to Prada to refurbish.

The theme on Monday night was Costume Art, and many attendees opened up their old art history textbooks to find references for the evening. Schafer wasn’t the only attendee to dress like a figure who stepped right off a canvas. Artist Amy Sherald tasked Thom Browne to dress her like the young woman from her 2014 painting, Miss Everything (Unsuppressed Deliverance). While others, like Rosie Huntington-Whiteley, embodied the infamous John Singer Sargent subject, Madame X. As a result, the evening is truly an art nerd’s dream. Surely, Jules would have enjoyed the festivities greatly.

As a student at Central Saint Martins, in London, Fidan Novruzova expected to start her career by joining a Parisian heritage house. Her 2019 thesis collection was a portfolio for potential employers featuring retro-futuristic looks reminiscent of The Jetsons: skirts with stiffened hems that appeared permanently windblown; tops with cartoonishly sharp shoulders; and heavy knee-high “Havva” boots with a sculptural square toe. But soon after she presented it, requests from store buyers and private customers started pouring in—including one from Bella Hadid, who bought the boots over Instagram. A year after graduating—and with just a Burberry internship as professional experience—Novruzova officially launched her label.

In March, Novruzova, who is 31, presented her 11th collection, for fall 2026, at a cocktail party in her Paris showroom. She was inspired by the 20th-century Polish painter Tamara de Lempicka’s saturated palette of scarlets, emeralds, and teals, and by the way the artist projected herself onto her subjects. “Her paintings were about the affluent women and socialites of the 1920s, but they all look like her,” explains Novruzova. Lempicka’s process felt familiar to her. “You have women around you who inspire you—your muses—but at the same time, it’s still about what you want to wear yourself.” She has a penchant for jackets, and presented drop-waist trenches, tuxedo-lapel leather bombers, and boleros with stiff architectural collars. There were also riding trousers tucked into over-the-knee iterations of the Havva boot, and polo shirts with collars so exaggerated they almost resembled capes. Although her designs still have the experimental, futuristic feel of those from her college days, now “every piece is something that can be incorporated into a modern woman’s wardrobe,” she says.

Novruzova grew up in Chisinau, the capital of Moldova, with Azerbaijani parents. Moldova isn’t exactly known as a high-fashion hub, but Novruzova spent much of her late teens on the Internet, where she discovered the work of Azzedine Alaïa and Yohji Yamamoto. Although she’s the only person in her family to work in a creative field, she says her mother instilled in her “the importance of dressing well,” and her heritage often figures into her work. The brand’s initial logo was a pomegranate, an emblem of prosperity across the South Caucasus, and her first collection was inspired by 1970s Azerbaijani starlets. Early on, she designed a dress made of raffia crocheted to look like wild rue, drawing on a west Asian folk belief passed down through her mother and grandmother: Burning the plant with salt while praying wards off the evil eye.

Novruzova’s designs start with materials, not sketches. She sources fabric from Italy and leather from a tannery in Istanbul, but her production remains rooted in Chisinau, which she visits often. She still works with the same family of shoemakers who produced the original Havva boot for her graduate collection; their studio is just minutes away from her parents’ house. Like many young designers, Novruzova is concerned about sustainability. For her, a sustainable brand doesn’t simply work with deadstock and upcycled fabrics, but focuses on designs that last. “The versatility of the clothes is what matters,” says Novruzova. “They should feel relevant over time.” When we met, she wore a black velvet jacket with a mandarin collar from the brand’s fall 2024 collection, as well as ballet flats from spring of that year, both of which still felt current.

Six years in, Novruzova’s brand is steadily growing. In 2024, she was a semifinalist for the LVMH Prize, making her the first Moldovan designer ever to get nominated. She’s expanding her brand’s footwear offerings, which currently consist of seasonal iterations of her Havva boot. Last year, she had her first major collaboration, working with Asics to turn its Gel-Cumulus 16 into a fashionable but still functional sneaker. (Imagine a running shoe with tassels and oversize tongues crossed with a classic men’s brogue.) Her only brief for the future: something “different,” she says. “I’m loyal to my aesthetic, but what’s important for me is to never put myself in a box.”

Hair by Tosh at Artlist Paris; Makeup by Elena Bettanello at Julian Watson; Models: Kaat Van Herbruggen at Noah Mgmt; Sabryna Oliveira at Oui Management; Yuliana Perez at Silent Models; Casting by Ashley Brokaw; On-Set Producer: Louise Akani; Photo Assistant: Matheus Agudelo; Digital Technician: Andreas Strunz; Retouching: Split Peas; Fashion Assistant: Lisa Fulchignoni; Hair Assistant: Lucile Bertrand; Makeup Assistant: Flavie Terracol.

A pinstripe power suit is always going to recall images of 1980s New York boardrooms, but Elle Fanning stepped out in Manhattan in a version that made us forget all about the Wall Street boys club. While attending a SAG-AFTRA Foundation panel for her Apple+ TV series Margot’s Got Money Troubles, Fanning wore a dark brown suit from Saint Laurent. Designed by Anthony Vaccarello for the label’s fall 2026 collection, it featured a sharply tailored blazer with padded shoulders and a deep, V-shaped neckline worn sans blouse.

She paired the look with a pair of sharply pointed black pumps, and a rectangular black leather East-West handbag. She may have been out promoting her latest tv series in midtown, but she looked dressed and ready to dip down to the financial district to execute a leveraged buyout at a moment’s notice.

The actor’s outing in Saint Laurent also marked her latest suiting look of the season. Earlier this week, Fanning wore a tonal blue Proenza Schouler skirt suit to attend a SAG-AFTRA event in Los Angeles. She also made headlines in a navy pinstriped Givenchy by Sarah Burton suit—complete with a dark red leather necktie—for the Margot’s Got Money Troubles premiere this spring. It seems a distinctly modern approach to tailoring has become a new facet of the star’s fashion repertoire, adding to her longtime “chameleon” streak of vintage-inspired, preppy, and fantastically glamorous attire.

However, Fanning’s also the latest star to embrace sartorial style. This week, Jodie Turner-Smith also stepped out in two different “power dressing” suits while beginning press for season 2 of The Agency. Meanwhile, Jennifer Lopez has frequently worn an assortment of blazers tailored trousers, and suits on the press tour for her new Netflix film Office Romance. Throughout the season, a range of suits have also been worn by Keke Palmer, Cara Delevingne, Ayo Edebiri, Teyana Taylor, and more, featuring an assortment of silhouettes elevated by rich textures, tonal colors, and eye-catching embellishments. As the season continues, it’s clear there’s a vast array of suits for stars to choose from—and there’s sure to be more to come.

Industrial shredder specialist UNTHA UK has announced a quartet of appointments as the growing business continues to evolve.

Bolstering the sales team is Dale Liptrott, who joins the North Yorkshire headquartered firm as an experienced sales consultant. With a decade of notable experience, most recently selling capital equipment at CPL UK, Dale excels in meeting new customers, building strong relationships, and recognising business opportunities. 

At UNTHA, Dale will leverage his expertise to identify potential clients, nurture long-term partnerships, and enhance the overall sales strategy, ensuring the firm’s continued success in a competitive market.

Sometimes, I get lucky: my hair looks like I’ve just stepped out of a shampoo commercial, my makeup is flawless, my outfit lands exactly the way I imagined it would. And then there are the mornings when my good vibe deflates because I notice an acne breakout on the verge of eruption. Nothing triggers my agita quite like a pesky pimple.

For years, I’ve been loyal to clay masks during breakout emergencies. I liked the certainty of them, the whole “dry it out and move on” philosophy. Then, a few months ago, during a facial, the esthetician reached for Biologique Recherche’s Masque Vivant. I did what any slightly controlling person does when confronted with professional expertise: I explained to her why I thought a clay mask would be better.

She politely ignored me, and thank god for that. Because Masque Vivant turned out to be one of those quiet beauty revelations that surprises you—then earns your loyalty. The French label’s product doesn’t leave your face feeling theatrically tight and stripped. Instead, it works with this calm, almost surgical precision that purifies pores, balances sebum, and somehow makes the skin look cleaner, even without peeling or compromising your skin barrier. The latter detail is a huge factor in overall skin health and long-term protection.

Biologique Recherche Masque Vivant

The genius of the mask lies in how balanced my skin feels when I use it. My face tends to get overactive around the T-zone, and this product seems to hit reset on that area without punishing the rest of my face. It deeply cleanses, regulates excess oil, and leaves my skin with a fresh but matte finish. For anyone navigating the occasional breakout—or if you simply want skin that looks calmer, clearer, and less overwhelmed by life—this little jar has become my hero.